Django

really? come on now just about every single post of yours in this thread has been about the H1's shortcomings and how vastly superior the GH5 is to your eyes (including multiple H1 vs GH5 screenshots) ? also how do you explain several people in this thread stating their desire to switch systems from GH5 to H1, if they aren't competing? i'm sorry but it certainly feels like some of the posters here are eager to put down this not even released product in an effort to justify their own gear purchases.. meanwhile, in the real world, the H1 reached top 10 position on amazon's best mirrorless sellers on pre-orders alone (while GH5S bottoms at +50th): i'm pretty sure Fuji have a hit on their hands, no matter what the so-called pundits in here may want to make people believe..

No. Personally, i find tricky shooting log on small 8-bit cameras with 3" displays and no proper exposure tools. Also certain types of jobs (interviews, run & gun etc) just don't warrant the time/budget or even necessity for extensive color grading. Not to mention not everyone has got years of color grading skills/experience despite the tools basically being free today.. This is when great color science, white balance, highlight roll-off and Fuji's film simulations & image settings come in useful for getting deliverable SOOC footage. Do keep in mind people shooting on ARRI, RED, BMDs etc most often have expensive cine glass, lighting and DOP skills than the sub-$3K camera shooters. Then you gotta factor in shooting Raw or ProRes on an optimized Super35 sensor at ideal base range ISOs. Having intra-frame compression vs inter like on most sub-$3K cameras also helps leagues in motion. This is where 1DC,1DX2,5D4 shine imo.

valid observations but let's keep in mind the original scene was shot on 35mm film using Panavision Primo primes costing around 6-digit figures.. vs. a $3K f2.9 zoom on a 4K sensor.. so apple & raisin bran imo i think most interesting is to see here how this 8-bit 200mbps FLOG holds up in grading and like the colorist said how good the highlight roll-off is.. these are typically things you won't get from reading a specs sheet.

a single (extra) battery is enough to power grip, get audio input and break time limit.

keep in mind they are using pre-production units (with the goal of exposing such bugs) XT2 had some broken things pre-release. hopefully Fuji are listening..

the headphone jack, 15mn limit & battery life are dealt with the mandatory booster grip. it's still a hybrid camera, so nice to be able to make it lighter when just shooting stills. edit: BTM_Pix beat me to it! the extra crop is only when shooting 4K and is x1.17. you can add a $100 kipon speedbooster/focal reducer, slap on some EF/Nikon glass and get close to FF look.. speaking of kipon, they're soon releasing smart adapters with AF for EF: https://www.fujirumors.com/kipon-announces-3-canon-ef-fujifilm-fx-gfx-autofocus-adapters/

@BTM_Pix fyi XT2 doesn't shoot DCI 4K, 200mbps codec, 120Fps or has got Eterna film simulation. Besides i can see couple gimbal shots which may have IBIS on.. @Kisaha i've switched from Canon (5D3/C100) and Sony (A7S2) to Fuji. Haven't really looked back..

yes i know.. but people were complaining earlier about XH1 footage being shot by still shooters/video amateurs.. always good to see the other end of the spectrum.

..the full X-H1 short shot in eterna with the fuji mk cine lenses:

personally, find zebras a nuisance on 3" displays... use a proper external monitor/recorder (shogun, smallhd 702) for accurate exposure tools/focus assistance..

@mkabi yes i sure do! the BMCC 2.5K definitely had that mojo.. i still often shoot DCI 2K whenever on the Ursa Minis 4.6K, strikes a good balance between files size / IQ imo..

I'd say Fuji is reacting pretty quickly considering this is only going to be their second serious attempt towards videographers on a hybrid camera and that they don't even have high-end pro video departments like Canon, Sony, Panasonic etc.. I'm particularly looking forward to DCI 4K & 2K at 200mbps (which btw is something even Sony's current flagship mirrorless aren't offering).

For those curious about Fuji's abilities for more filmic work.. here are 2 shorts shot on XT2 with speedboosters & cine glass:

@jonpais FYI those comments were directed towards this member, not you:

i always find it quite amusing that some people may think a camera that doesn't shoot 10-bit, record in 4K or have IBIS is obsolete/worthless for pro work. FWIW i've shot professional work for clients listed on the NYSE with 5D3, D750, C100, A7S & XT2.. all 8-bit cameras. I can assure none of those clients have probably ever heard of 8bit/10bit/420/422/Rec709/Rec2020 etc.. only in these specialized forums are they relevant and up for debate.. i'll also add i've been shooting professionally across the globe with the XT2 for over a year and never have my clients given me so much praise on IQ. Now the XT2 is far from perfect, and i'll still rent BMDs, FS7s & REDs for bigger projects but it's an amazing little camera and imo the best SOOC image. GH5/GH5S is certainly best bang for buck right now but M43 sensors don't fit my aesthetic and i much prefer the native lens selection from Fuji. I'm now very excited about X-H1, will definitely upgrade to it.. The booster grip is an absolute requirement for XT2.. it gives you the audio input & boosts recording time and EVF refresh rate etc.. Now concerning the display information/icons being too small, XH1 will indeed make things a lot better thanks to its top "sub monitor" that will include a customizable movie mode allowing clear/fast top view of all crucial information including remaining recording time etc..

Only thing clownish I'm seeing here is your comments I'm afraid.. Do you even have any experience with (latest gen) Fuji X system for video? or is it all based on silly JPG YT shootouts of fruits & charts?! Here is an ungraded video from an actual real-world DOP giving you the rundown on what i'd agree are some of the IQ highlights for video work:

https://www.eoshd.com/comments/topic/26299-fuji-x-h1-new-apsc-video-oriented-camera/ latest specs sound great! i remember that shootout.. so unscientific with different lenses on each body.. and such weird "test shots" .. brown foliage, a baby & fruit lol.. anyways Fuji came in 4th btw.. Pentax 8th.. it's all pretty subjective though (aside from iPhone lol) as a recent Fuji convert (XT2) after spending years on Canikon i must say i'm very satisfied with the Fuji X experience & results both in stills & video. what sets Fuji X apart are 2 things: X-trans sensor which eliminates chroma noise and gives a more filmic luma noise at high ISO & the film simulations which make use of Fuji's extensive knowledge in film color science. their AWB is also second to none, nailing even the most difficult mixed light situations.

Glad to hear they've sorted some issues and that ML on the 5D is working so good for others, but I'm afraid my experience has been tainted by having numerous lockups and a dead 5D on set (even if for 10mn only.. those were some long a$$ 10mn!). It's kind of like all the wonder stories about drug trips you hear and then there is that one out of a 100 risk of OD and well i'm not taking that chance even if odds are good! As far as BMD cameras.. i wasn't thinking of the pocket but rather the production or URSA's which i can rent for quite cheap the odd times clients really requires raw recording (which is much less than what people may think, even netflix DOPs reveal they favor Prores most of the time.. because who has time/space for raw these days?) it's definitely amazing though what ML have achieved and I only wish they could hack more recent models with beefier processors. the old 5D raw footage i've got still blows my socks off..

honestly, i don't remember all the details, it's been a while and for all i know these issues have all been solved..? It was Nightly build and ML was on the SD i remember that but i can assure you i'd often be getting frame drops, live view / audio issues etc.. I did make full use of a lot of options (perhaps too many were activated) yeah getting DNGs can be drag n drop with that one paid app.. still converting is time consuming depending on your cpu / hard drives.. i never fully bricked a 5D thank god but definitely severe lock ups requiring battery pull method etc. one day it took like 10mn for the 5D to come back to life, boy was i ever nervous.. didn't really do much RAW with it after that! of course your mileage may vary.. just giving my own experience of which ML felt unreliable at times. today if i needed raw for commercial usage i would look at any second hand Blackmagic camera before going to a hacked 5D3. again just my .2c

5D3 14-bit Raw is definitely some of the finest 1080p IQ outside of Arris etc... but shooting with it is honestly a little hit & miss. Not having sound, super choppy liveview, couple seconds before dropping frames etc makes it kind of unreliable for pro use. I only used it for certain money shots as B-cam footage to the C100 and even then was nervous until i got home and saw the footage. Raw is already a hefty workflow on it's own, and jumping through the ML hoops to get to that DNG isn't really a walk in the park. Just trying to inform people that might be tempted to go that route.. remember it is a hack.. and bricking your camera isn't excluded (i certainly had lock-ups quite regularly). That IQ though...

oh and as far as the whole 8-bit / 10-bit / raw / log etc debate.. this good old video by Dugdale revealed some interesting stuff using a multitude of cams (A7R2/A7S2/FS5/C100/Red):

Actually, outside sources reveal iPhone X is a flop and manufacturing will be cut by 50% this quarter. iPhone 8 is also underperforming.. but you know what i find most amusing? all this fuss over HDR.. to end up being viewed, by what 1% of the population? on a glossy 4" phone display in mixed lighting (while being bombarded by on-screen notifications & incoming calls..) what a time to be alive! seriously though i'm with others here.. HDR at this point is mostly marketing hype. Nobody in the real world is equipped for it yet and just like 3D TVs which came and went or even 4K TVs at launch that were being pushed before there was even any 4k broadcast material available.. heck i remember when HDR was the next cool thing in photography, now it's considered kind of corny.. time will tell but something tells me HDR video is just the trend of the day like hyper-lapse, super-slomo, VR etc.. All of which are cool things but I'm certainly in no rush to jump on the bandwagon, then again it's a subjective thing, and my aesthetic tends more around organic/filmic rather than hyperrealism.

Surely there are far better technical experts here than me but from my basic knowledge shooting log/raw, it isn't only about getting maximum DR.. it's also about getting a wider color/contrast latitude for gradability purposes rather than baked in profiles. if you're trying to match various footage/cameras or have a heavy grade/look it's for sure the way to go imo. raw has the extra advantage of giving you full white balance adjustment & various options that get unlocked in davinci and of course gives you true uncompressed image which can amount to greater detail. it's basically the same story than shooting raw vs jpeg with stills. that being said, if you don't know what you're doing, or don't have much post production time/skills.. shooting log can amount to ruined footage or post headaches.. and of course low bit codecs may limit your grading latitude and you may just be better off shooting baked picture profiles.. i hardly ever shot c-log on my C100.. WideDR and custom profiles were usually enough. and my XT2 has such gorgeous IQ that I usually just shoot SOOC with the film simulations and various custom profiles. but on the Ursa Mini Pro we rented last weekend for narrative work it was ProRes Film log / RAW shooting all day.. now i don't much about shooting HDR/HLG but from what i understand the point is to get max DR and color wow/pop factor while having a very simple workflow not requiring much if any grading allowing for fast turnovers. great for broadcast/events etc. not really interesting for narrative work etc where you want a specific look and/or full control over your image. of course only maybe 0.2% of the world population is HDR equipped to even view the benefits..lol

I remember trying out the MC-11 with Canon 35mm 1.4 L on A7R2 and getting pretty decent AF results to my surprise. I think it's definitely lens dependant (and there is a Canon EF compatibility list) what Canon lenses have you tested?

F mount is a different story, Nikon has 50 years of lens legacy to protect.. Z is a new mount and in view of Nikon's current status it would make sense for them to partner up with 3rd party imo if they wanna turn heads.. they've got a lot of catching up to do system-wise entering this late in the mirrorless game..